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Photoshop CS6 One-on-One: Advanced

Correcting fringes around a masked layer


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Photoshop CS6 One-on-One: Advanced

with Deke McClelland

Video: Correcting fringes around a masked layer

In this movie, I'll show you how to bring the skeleton into the planet's composition, complete with the layer mask, and then we will modify the layer mask using a couple of really great automated techniques. So here I am looking at the full-color photograph. I'll load my final mask as a selection outline by switching to the Channels panel, and then pressing the Control key, or the Command key on the Mac, and clicking on final mask. Then what you want to do is switch over to the Layers panel. Now I could press Control+C, or Command+C on a Mac, and then switch over to the planet's composition, and press Control+V, or Command+V be on a Mac, but that gives me a static layer, with all of of the pixels outside of that selection outline transparent, which provides me with scant editing opportunities.
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  1. 30m 4s
    1. Welcome to One-on-One
      2m 19s
    2. Loading the dekeKeys keyboard shortcuts
      6m 5s
    3. Remapping your Macintosh OS shortcuts
      3m 4s
    4. Adjusting a few general preferences
      4m 3s
    5. Using the visual HUD color picker
      2m 2s
    6. The interface and performance settings
      5m 31s
    7. Adjusting the color settings in Photoshop
      7m 0s
  2. 47m 0s
    1. Smart Objects
      1m 36s
    2. Three ways to place a Smart Object
      3m 6s
    3. Copying and pasting from Adobe Illustrator
      4m 11s
    4. Transforming and warping a vector object
      4m 48s
    5. Blending a Smart Object into a photograph
      3m 10s
    6. Blurring with a nested Smart Filter
      4m 57s
    7. Editing a Smart Object in Illustrator
      3m 20s
    8. Creating "true clones"
      3m 50s
    9. Duplicating a group of clones
      2m 53s
    10. Breaking the Smart Object link
      2m 53s
    11. Styling and blending Smart Objects
      2m 44s
    12. Editing originals; updating clones
      3m 41s
    13. Removing people from a scene with Median
      5m 51s
  3. 29m 59s
    1. Luminance meets sharpening
      1m 2s
    2. Correcting for lens distortion
      4m 39s
    3. Introducing Shadows/Highlights
      3m 54s
    4. Mitigating halos with Radius values
      4m 19s
    5. Enhancing the effects of Midtone Contrast
      3m 18s
    6. Creating a "bounce" with Gaussian Blur
      3m 29s
    7. Sharpening on top of blur
      2m 47s
    8. Masking a group of Smart Filters
      2m 53s
    9. Reducing the density of a layer mask
      3m 38s
  4. 49m 10s
    1. Using Curves
      2m 40s
    2. Introducing the Curves adjustment
      7m 36s
    3. Adding and editing points on a curve
      6m 27s
    4. Winning Curves tips and tricks
      8m 12s
    5. Correcting a challenging image
      6m 33s
    6. Selecting and darkening highlights
      4m 39s
    7. Neutralizing colors and smoothing transitions
      6m 6s
    8. The new automatic Curves function
      6m 57s
  5. 1h 31m
    1. Camera Raw
      2m 11s
    2. Opening and editing multiple images
      8m 1s
    3. Correcting white balance
      4m 8s
    4. The revamped Exposure controls
      8m 8s
    5. Working with archival images
      7m 54s
    6. The Spot Removal and Graduated Filter tools
      6m 4s
    7. Painting edits with the Adjustment Brush
      7m 23s
    8. Tone Curves (and why you don't need them)
      5m 57s
    9. Straighten, crop, and geometric distortions
      5m 17s
    10. Applying manual lens corrections
      5m 14s
    11. Vignette, chromatic aberration, and fringe
      6m 49s
    12. Selective hue, saturation, and luminance
      6m 36s
    13. Working with JPEG and TIFF images
      6m 36s
    14. Camera Raw Smart Objects
      6m 48s
    15. Editing Camera Raw images from Bridge
      4m 24s
  6. 32m 30s
    1. Duotones
      1m 23s
    2. Creating a professional-quality sepia tone
      4m 18s
    3. Introducing the Gradient Map adjustment
      5m 42s
    4. Loading a library of custom gradients
      3m 48s
    5. Creating a custom quadtone
      5m 48s
    6. Colorizing with blend modes and Opacity
      4m 6s
    7. Creating a faux-color, high-key effect
      7m 25s
  7. 1h 6m
    1. Noise vs. Details
      1m 28s
    2. Introducing the Reduce Noise filter
      7m 29s
    3. Correcting a noisy photo
      5m 33s
    4. Smoothing over high-contrast noise
      5m 50s
    5. Protecting details with an edge mask
      4m 52s
    6. Adjusting overly saturated shadows
      3m 35s
    7. Correcting with High Pass and Lens Blur
      3m 45s
    8. Brushing away blur and sharpening
      6m 42s
    9. Creating texture by adding noise
      5m 28s
    10. The Camera Raw Detail panel
      7m 8s
    11. Correcting noise and detail in Camera Raw
      8m 10s
    12. Adding noise grain and vignetting effects
      6m 47s
  8. 44m 30s
    1. Blur Gallery
      1m 36s
    2. Creating depth-of-field effects in post
      5m 29s
    3. Modifying your Field Blur settings
      4m 57s
    4. Editing and exporting a Field Blur mask
      6m 15s
    5. Adding a synthetic light bokeh
      3m 52s
    6. Using the Selection Bleed option
      7m 29s
    7. Creating a radial blur with Iris Blur
      6m 59s
    8. Creating "fake miniatures" with Tilt-Shift
      4m 35s
    9. Combining multiple Blur Gallery effects
      3m 18s
  9. 1h 34m
    1. Blend Modes
      1m 16s
    2. Using the Dissolve mode
      9m 47s
    3. Multiply and the darken modes
      8m 30s
    4. Screen and the lighten modes
      8m 10s
    5. Cleaning up and integrating a bad photo
      6m 38s
    6. Blending inside blend modes
      6m 55s
    7. Overlay and the contrast modes
      6m 53s
    8. A few great uses for the contrast modes
      9m 7s
    9. Difference, Exclusion, Subtract, and Divide
      5m 5s
    10. Capturing the differences between images
      4m 18s
    11. Hue, Saturation, Color, and Luminosity
      4m 45s
    12. Blend mode shortcuts
      6m 21s
    13. The Fill Opacity Eight
      8m 57s
    14. Using the luminance-exclusion slider bars
      8m 8s
  10. 44m 20s
    1. Color Range
      1m 14s
    2. Introducing the Color Range command
      7m 24s
    3. Selecting a complex image with Color Range
      5m 49s
    4. Refining a selection in the Quick Mask mode
      7m 4s
    5. Viewing a mask with or without its image
      4m 24s
    6. Painting directly inside an alpha channel
      5m 39s
    7. Correcting fringes around a masked layer
      8m 5s
    8. Turning a layer into a knockout
      4m 41s
  11. 59m 43s
    1. Refine Edges
      1m 28s
    2. Laying down a base layer mask
      6m 49s
    3. Introducing the Refine Edge/Mask command
      7m 57s
    4. Edge detection and Smart Radius
      4m 42s
    5. Using the Refine Radius tool
      7m 31s
    6. The transformative power of Refine Edge
      3m 37s
    7. Perfecting a mask with overlay painting
      10m 58s
    8. Combining Quick Selection with Refine Mask
      10m 37s
    9. Bolstering and integrating hair
      6m 4s
  12. 1h 18m
    1. The Pen tool
      1m 50s
    2. Pixel-based masking versus the Pen tool
      6m 45s
    3. Drawing a straight-sided path outline
      6m 57s
    4. Moving, deleting, and adding anchor points
      6m 10s
    5. Dragging control handles to modify curves
      5m 27s
    6. Converting a path outline to a vector mask
      5m 36s
    7. Customizing a geometric shape
      5m 53s
    8. How to position points and control handles
      7m 7s
    9. Drawing smooth points with the Pen tool
      8m 7s
    10. Duplicating and scaling a vector mask
      5m 21s
    11. Cusp points and the Rubber Band option
      6m 21s
    12. Setting anchor points in the pasteboard
      6m 8s
    13. Using the Convert Point tool
      6m 43s

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Photoshop CS6 One-on-One: Advanced
11h 8m Advanced Sep 12, 2012

Viewers: in countries Watching now:

The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.

Topics include:
  • Adjusting the color settings in Photoshop
  • Placing and blending Smart Objects in a scene
  • Transforming and warping vector objects
  • Correcting for lens distortion
  • Mitigating halos and enhancing contrast with Shadows/Highlights
  • Adding and editing points on a curve
  • Editing multiple images in Camera Raw
  • Creating a pro-quality sepia tone or quadtone
  • Colorizing with blend modes and opacity
  • Reducing and smoothing over noise
  • Creating depth-of-field effects with blur
  • Selecting with Color Range and Quick Mask
  • Perfecting a mask with Refine Edge
  • Drawing paths with the Pen tool
  • Converting path outlines to vector masks
Subjects:
Design Raw Processing
Software:
Photoshop Camera Raw
Author:
Deke McClelland

Correcting fringes around a masked layer

In this movie, I'll show you how to bring the skeleton into the planet's composition, complete with the layer mask, and then we will modify the layer mask using a couple of really great automated techniques. So here I am looking at the full-color photograph. I'll load my final mask as a selection outline by switching to the Channels panel, and then pressing the Control key, or the Command key on the Mac, and clicking on final mask. Then what you want to do is switch over to the Layers panel. Now I could press Control+C, or Command+C on a Mac, and then switch over to the planet's composition, and press Control+V, or Command+V be on a Mac, but that gives me a static layer, with all of of the pixels outside of that selection outline transparent, which provides me with scant editing opportunities.

For example, I need to get rid of this edge fringing, and there's no good way to do that without a mask. So I will press Control+Z, or Command+Z on a Mac, to undo that change, and I'll switch back to my dinosaur. I'll double-click on the background in order to convert it to a layer, and I'll name that layer hadrosaur, and then press Enter key, or the Return key on a Mac. And now I'll convert the selection to a layer mask by dropping down to the Add layer mask icon at the bottom of Layers panel, and clicking on it. Now what you want to do is, assuming that you have a selection tool active, right-click inside the image window, and choose Duplicate Layer, and then switch the document to The planets.psd, and click OK.

Now at this point, were you to save your changes, you would want to save this image not in the TIFF format, but in the native PSD format, because after all, you now have an independent floating layer, and the PSD format is best suited to a layered image. I will go ahead and switch over to The planets.psd, which now has the skeleton inside of it, complete with a layer mask. Now let's take care of that edge fringing. There's fringing inside the bones, and around the skeleton, and we are going to deal with that fringing in two different ways.

I'll click on the layer mask thumbnail to make it active; very important. Then I'll press Control+0, or Command+0 on the Mac, to back out slightly, and I'll press the L key to switch to the Lasso tool, and then I'll press and hold the Alt or Option key, and I'll click in order to create a polygonal selection outline around all of the holes inside of the dinosaur. So notice that I'm tracing between the holes, and the outside of the dinosaur. The one hole I'm skipping is that big hole inside the snout, and then when you get back to the beginning of your selection, release the Alt key, or the Option key on the Mac, in order to generate the selection outline.

I am going to go ahead and zoom on in here, so that we can better see what we are doing, and what we need to do is enlarge the holes. Now, if you were to Alt+Click or Option+Click on the layer mask thumbnail inside the Layers panel, you'll see that the holes are represented as black. So we need to enlarge the black areas, meaning that we need to apply the filter that increases the size of black, which is Minimum, so called because it's expanding the size of the minimum luminance level, which is black.

So that we can see what we are doing, I'll Alt+Click or Option+Click on that layer mask thumbnail again, make sure it's selected, and then go up to the Filter menu, choose Other, and choose Minimum, or if you loaded dekeKeys, you have a keyboard shortcut of Shift+F12. By default, the Radius value is set to 1 pixel. That's as much as we want. If we go any higher than that, you'll see that you expand the holes way too far. So 1 turns out to be exactly what we want, and if I click at this location here, so I can see the hole inside of the dialog box preview, if I click and hold, it used to be a little smaller.

If I release, you can see that it grows ever so slightly, just enough to fill in those fringes. Then I'll click OK to accept that change. Now to deal with the outside edges, and the edge inside of that snout, and I am going to approach those edges a little differently, because they require a more finessed approach. So I'll start by going up to the Select menu, and choosing the Inverse command, or you can press Control+Shift+I, Command+Shift+I on a Mac. And that way the holes are no longer selected, and the outside edges are.

Now, this approach involves a couple of steps. Step number one is to go up to the Filter menu, choose Blur, and then choose Gaussian Blur. And I'm going to take my Radius value up to 2 pixels, and you'll see that turns the fringes into halos. If I click at this location, that centers that portion of the mask inside the dialog box preview. I'll click and hold to show the before version, and I will release to show you the after version. What that does is it feathers the edges, so that we can slip them back and forth using a brightness modification.

Now I'll click OK. Step number two is to press Control+L, or Command+L on the Mac, in order to bring up the Levels dialog box, and now I am going to increase the black point value by clicking inside of it, and pressing Shift+up arrow several times, and as I do so, you can see that edge move inward. And I'm going to go ahead and zoom in a little bit more, so that I can continue to track my changes, and I found that taking the black point value up to 200 ended up doing the trick. And then I'll tab over to the white point value, and press Shift+down arrow a couple of times to take it down to 235, which scoots the inside edges out just a little bit, but really what it's doing is firming up the edges.

And that takes care of our fringing. I'll go ahead and click OK in order to accept that change, and then press Control+D in order to deselect the image. Now, you may wonder why I took two different approaches for the inside and the outside edges, and this is why: the second approach, Gaussian Blur combined with levels, ends up rounding off corners. So I've got this little wedge right here that wants to come out. I'll Alt+Click or Option+Click around it with the Lasso tool, and then black happens be my foreground color, so I will press Alt+Backspace, or Option+ Delete on the Mac, in order to fill it in.

Then I'll click inside the image to deselect it. I will Alt+Click around here in order to select this little detail, and I'll go ahead and release, and press Alt+Backspace, or Option+Delete on a Mac, in order to fill it in this well. And you can deal with as many of those as you want to. You don't really have to worry about it too much, quite frankly, because these are single pixel problems, and they probably won't render in print, or really any medium for that matter. Now, this area inside the hole does not have rounded corners, because we applied the minimum filter, but we do have some problem edges.

So I'll press the B key to switch to the Brush tool, and paint away some of this garbage, like so. Apparently that little blue spot is part of the background, so I won't worry about it, but I'll probably paint along this edge, just to quell it ever so slightly. Then we can check out some of the other edges, and see how they're faring. They are looking pretty good actually. That area inside the snout is so big that the rounding didn't really cause a problem for it. I am going to go ahead and zoom out. I am in to far at this point. And I think everything else is looking pretty good. I will just sort of skim around here to make sure.

Now once you get to these holes inside the spine, they may seem a little bit too jagged, and if so, just make sure your layer mask remain selected. Gaussian Blur was the last filter you applied, so press Control+Alt+F, or Command+Option+F on a Mac, to revisit the dialog box, and change the Radius value to 0.3 pixels, which is the smallest value that actually makes any difference, and you will add just a little bit of softening around those edges. Then click OK. All right. This looks pretty good to me. I'll just scroll down to make sure everything's in good shape.

This is a problem. This hole needs to be painted out slightly here, like so, and you can just hand paint some of these details if you want. This guy wants a little bit of attention too, but you know what? At some point you have to stop, so I am going to press the M key in order to switch back to the Rectangular Marquee tool. Press Control+0 or Command+0 on the Mac, to zoom out, and that is the final version of my layer mask, thanks to my ability to expand holes using the minimum filter, as well as correct edge fringing using a combination of Gaussian Blur along with the Levels command.

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